Harmonic organ



(No Model.) 4 Sheets-Sheet 1. L ORSER HARMONIG ORGAN.

Patented May 9, 1893.

we @DXQQ (No Model.) 4 Sheets-Sheet 2.

L. ORSER.

HARMONIG ORGAN. N0. 497,056. Patented May 9, 1893.

VIM W a; ff f ml (No Model.) 4 Sheets-Sheet 3.

L. ORSER.

HARMONIG ORGAN.

No. 497,056. Patented May 9, 1893.

UNITED STATES PATENT OFFICE.

LEVI ORSER, OF GALVESTON, TEXAS.

HARMONIC ORGAN.

SLPECIFICJ-YIIOIINI forming part Of Letters Patent NO. 497,056, datedMay 9, 1893.

Application filed April 23,1892- Serial No. 480,438- (No model.)

T on whom it may concern:

Be it known that I, LEVI ORSER, a citizen of the United States, and aresident of Galveston, county of Galveston, State of Texas, haveinvented a new and usefullmprovement in Organs, of which this is aspecification.

The organs now in use have only twelve notes to the octave andconsequently cannot render asingle interval of any scale correctly; thatis, cannot play a single note in tune. The seven white keys of the keyboard which should play the seven tones of the natural diatonio scale donot play either of these tones correctly except the first and the fiveraised or black notes each of which nominally serves for the sharp ofthe tone below or the flat of the tone above them are actually neitherthe one nor the other. e

The object of this invention is to provide the instrument with asufficient number of tones, so that all the tones may be tuned correctlyand to provide simple means whereby the performer may cause either ofthe keys to sound the several tones which it has at different times torepresent so that by the use of a simple stop action, the performerplays the true tones where he has hitherto played only substitutes forthem, without making any change in the key board or the manner ofplaying.

In the present instance, the invention is shown as adapted to an organwith twentyfour keys to each octave, each of which is pro vided with anindependent valve. All the tones in the key board except thosecorresponding to the first, third and iifth, operate upon the switcheswhich in turn operate upon one or another of tones according to theposition of the switches. The switches are pivoted to racks; each rackcarries a switch for the corresponding tone in each octave, so that bymerely changing the position of the rack the corresponding tone ischanged throughout the whole instrument, the racks being operated bystop actions. By means of a harmonic switch, the five stopscorresponding to the five raised or black keys of the key board aresimultaneously changed from sharp to flat or vice versa, at the sametime leaving either of these stops free to be moved, independently.

The instrument is provided with a simple and effective mute action andgrand organ action suitable to its requirements, all of which will nowbe fully described.

Referring to the drawings, Figure 1 is an elevation view partly insection of the action near the bass end of the instrument; Fig. 2 afront elevation of the name board showing the harmonic and mute stops.Fig. 3 is a front elevation of the racks showing the bass and trebleends with the hangers, the central portion being broken away; Fig. 4 aplanview of harmonic action with harmonic stop rods and guide boardbroken away showing harmonic action rods, bar and handle; Fig. 5 anelevation View of bass end of instrument showing mute action and grandorgan connection; Fig. 6 a treble end view of same; Fig. 7 a plan viewof mute action, bass end, showing mute action, rods and grand organconnection; Fig. 8 a treble end view of same; Fig. 9 a plan view of kneeswell connection; Fig. 10 a plan view of switches, part of the switchesbeing broken away so as to show a plan View of the tracker pin levers;Fig. 11, a perspective view of one of the racks with part of the hangersbroken away; Fig. 12 a front elevation of one of the harmonic stop rodsshowing partof guide board cleats, guide pin and forked lever; Fig. 13,a side elevation of harmonic action rod with harmonic stop rods drawnout showing the auxiliary forked lever in its vertical position whileholding corresponding rack in its forward position.

The wind chest is shown at 1, Fig. 1; reed board at 2; front half of thesets of reeds 3 and 58; rear half 3 and 58; valves 4:, 4; tracker pins,5, 5"; tracker pin levers G, 0; having shoulders 7, 7 and '7"; switches8 with rest 9; bearings 10, 10 and 10"; keys 11; bearings 12 and 12.

The switches 8 are pivoted at their rear ends to racks consisting ofvertical studs 13, having shoulders 14, by which they are attached tohorizontal bar 15 (Fig. 3). These horizontal bars are pivoted to asupport 16 by hangers 17, being thereby free to swing back and forth.The horizontal bars carry a vertical stud 13 for each octave in theinstrument (see Fig. 11). One of the vertical studs 13 of each of therackshas ahole 18. Through this hole passes a connecting rod 19, havinga thread out upon it to which a wooden nut 20 is screwed. The verticalstuds 13 to which the connecting rods are attached as shown, extendbelow the switches passing through openings 21 made for them in the restboard 22 on the under side of which are cleats 23 and 24. Near the endof the studs 13 are holes 25 made to receive one end of the springs 26.The other ends of the springs project into holes made for them in thecleat 21-. These springs operate to force the studs 13 back against thecleat 23, thus holding the rods back to their furt-herinost limit. Theforward ends of the connecting rods 19 are bent hook-shaped so as toengage with the shanks 27 of the action rods 28. These action rods aremade similar to those now in common use consisting of a longitudinalpart 28 with a shank 27 on one end and a crank 29 on the other, (Fig.4,) except that the cranks 29 turn downward as shown at Figs. 1 and 1.The cranks 29 are operated by forked lever 30 pivoted in shoulders 31 ofthe stop rods 32.

The harmonic mechanism will now be described. By the plan view of theswitches (Fig. 10) it will be seen that there are no switches for thefirst, third and fifth notes of the scale. Consequently the tracker pinsof these tones extend up to and are operated upon by their correspondingkeys in the usual way. There is a switch for each of the other keys ornine switches to the octave. Referring to Fig. 1, it will be seen thatif one of these keys be pressed down, the bearing 12 will press down theswitch 8 and the bearing 10 of the switch will press down the trackerpin lever 6. If the chromatic scale be now played, it is obvious thatthe front sets of reeds will all be sounded the keys acting on thefirst, third and fifth tones direct and on the others through theswitches S. If a stop rod 32 be now drawn out it will operate to movethe crank downward and forward Figs. 11 and 13 which by means of theshank 27 and connecting rod 19 will draw the corresponding rack forward.The effect of this will be to move all the switches carried by the rackforward into the position shown by the dotted lines (Fig. 1). 1f thecorresponding key be now pressed down, the bearing12 willoperate uponthe switch causing the bearing 10 to act upon the tracker pin lever 6.If the corresponding stop rods be drawn out so as to move all theswitches forward, it is obvious that the keys will now operate throughthe switches playing all the tones 3 (or rear half of the set) exceptthe tones Opposite the first, third and fifth in the front half of theset. These three tones are played as follows: The three switches Csharp, F and F sharp are provided with auxiliary bearings (l0 Figs. 1and 10). The action rods 28 which operate the three racks C sharp, F andF sharp are provided with two cranks 29 and 29 (Figs. 1, i, and 13). Thecranks 29 are just half the length of the cranks 29; therefore whenthese cranks are operated by the forked lever 30, they move the actionrod and its corresponding rack double the usual distance, the effect ofwhich is to move these series of switches into position as shown bydotted lines (Fig.1). If the keys C sharp, F and F sharp be now presseddown, the auxiliary bearings 10 of the corresponding switches will actupon the tracker pin levers 7 Thus by drawing the proper stop rods, theperformer may play any of the twenty-four tones which he may require atany time. In chang ing from sharp to fiat or vice versa the fivo stopscorresponding to the five raised or black keys of the key board must allbe changed at once. For this purpose, these five stop rods 32 areprovided with pins and 32-3. A harmonic bar 34: extends transverselyacross the instrument having downward projecting arms pivoted at 36(Figs. 1 and 4),thc harmonic bar 3% being thereby held in position overthe stop rods and being free to move back or forth. A handle extendsthrough the name board, by which the bar is moved. lVhen the handle 37is pulled out the bar strikes the pins and draws all the stops out whichare provided with the pins. When the handle is pressed back, the barstrikes against the pins 33 and pushes all the stops back. The distancebetween the pins 33 and 33 is sufficient to allow either of the stops tobe moved independently.

The mute action will now be described: Of the twenty-four reeds orsounds which constitute each set, twelve are located in the front part 2of the reed board and are cov ered by valves 4 and twelve are locatedopposite to them in the rear part of the key board and are covered byvalves 4*. The instrument may be provided with as many sets of reeds ortones as may be desired. In the present illustration there are two sets3, 3 and 58, 58 (Fig. l). The mutes covering the front and rear halvesof a set of reeds must be raised simultaneously. For this purpose apivot screw K (Fig. 5) is set into the end block L, in a centralposition with reference to the several mutes which are to be lifted.Mounted loosely upon this pivot are pivoted levers M and N (Figs. 6, 7,and 8). The upper end of the lever M is attached to the mute O byconnecting rod P and the lower end to the mute O, by connecting rod P.In like manner, the lever N is attached to mutes J and J by connectingrods Q and Q. The upper end of the lever M is attached to the shank 27by the connecting rod S and that of N to the shank 27 by the connectingrod S. %y the action of the forked lever 30 on the action rod 28, theshank 27 is forced back operating through the lever M and itsconnections to open the inutes O and O. In like manner the forked leverc on the action rod 2S operates through the lever N and its connections,to open the mutes J and J. A similar action at the treble end of theinstrument opens the corresponding treble mutes. (See Fig. 6.) Toproduce the grand organ effect, all these mutes, bass and treble must belifted at once. For this purpose, a rod V fastened by cleats to theunder side of the foundation board extends transversely from the bass tothe treble end of the instrument. The ends of the rod V are bent upwardand have blocks WV, w fastened on them. The block W at the base end isattached to the lower end of the two lovers M and N by connecting rods Xand X and the block to at the treble end is connected to the two leversm and n by the connecting rods :1: and cc. The rod V is bent downward toform a crank U. The knee swell Y has a bearing H adapted to engage withthe crank u of the rod V. WVhen the knee swell is pushed to the left,the bearing H forces the crank U backward which turns the rod V causingthe blocks WV, w to move forward (Fig. 9) and these through theirconnections with the levers M and N at the bass and m and n at thetreble (Figs. 5, 6, 7 and 8) operate to open all the mutes, both bassand treble simultaneously. Slots Z, 2 in the connecting rods X, X andat, m, allow these rods to move independently when not acted upon by theblocks WV, w.

The tracker pin levers 6, 6 (Figs. 1 and 10) are pivoted on pins 38. Therails 39 and pins 40 serve to hold them in position. A slot 41 in theswitches in connection with guide pins 42 serves to hold the forwardends of the switches in position. Then the switches are moved forward,the rests 9 pass clear of the bearings 2 and engage with the bearings 12of the keys 11. By this means the switch acts alittle more so as topress the rear tracker pin levers down as much as they do those in thefront (6). The rear ends of the switches extend back a little fartherthan the vertical studs 13 and to this projection, a counterpoise 43 isattached heavy enough to balance the weight of the switch so as toequalize the action. Thesupportlficonsistsofalongitndinal bar of wood inwhich there is a groove 44 cut through the whole length of the piece;gouges 45 are out transversely into the bar to admit the hangers 17, thepivots 46 of which rest in the groove 44. A strip 16 having gouges 45cut in it corresponding to the gouges 45 is fastened by screws to thesupport 16. Thus the hangers are held firmly in their places by pivots46, the gouges 45 and 45 being deep enough to allow the supports toswing back and forth (Figs. 1 and 11). The support 16 is held inposition by posts 47 attached to the ends of the Wind chest 1 and alsoby rests 48 which are attached to the case (Fig. 1). The arrangement oftheaetion rods 28 on the action board 49 is shown at Figs. 1 and 4.Grooves 50 are cut in the board in which part of the action rods 28 arelaid, the others being laid on top of the board and all are held inplace by cleats in the usual way. The action rods 28 are so arranged asto allow the stop rods 32 to stand in the order of the pitch, from thelowest to the highest of the notes which they represent, Fig. 4.

The forked levers 30 have a heel 51 adapted to strike the rest 52, whenby the action of the rods 32 the forked lever is brought into itsvertical position Figs. 1 and 13. By this construction the forked leverholds the crank 27 firmly in position. At 53 (Fig. 1) is shown the guideboard having cleats 54 on its under side in which are grooves 55.Passing through the stop rods 32 are guide pins 56, the ends of whichproject into the grooves 55 and slide back and forth therein, thusserving to hold the stop rods 32 in proper position (Figs. 12 and 13).Buffet blocks 57 fitted in the grooves 55 limit the forward motion ofthe stop rods 32.

Directions for tuning the instrument: The instrument is provided withtwenty-four tones to the octave consisting of the following:- First, theseven tones of the natural diatonic scale (here called primary tones);second, sharps of all but the seventh and flats of all but the fourth(here called secondary tones); third, tones flatter than the flatsecond, and second, and tones sharper than the fourth, fourth sharp, andsixth. The above five tones are here called auxiliary tones and areindicated by writing an 0 before or an 1 after the sign used to indicatethe tone to which they are related. These twenty-four tones are herecalled the harmonic scale. The vibration numbers of one octave of thetones of the scale are here given beginning with middle C. C, 264; Cfl,275; oD'p, 281.6; Di 285.12; 0D, 293.33; D, 297; D14, 309.375; Eb,316.8; E, 330; E5, 343.75; F, 352; F1, 356.4; F3, 366.66;Ffil, 371.25;G17, 380.16; G, 396; Gfi, 412.5;Al 422.4; A, 4.40; Al, 445.5; A#,458.33;Ely, 475.2; B, 495; 0);, 506.88.

As shown at Fig. 10, the arrangements of the tones are as follows: Frontpart of the set-C, Cfi, D, Dfi, E, F, Ffi, G, Gfi, A, Afi, B. Rear partof the setobD, bD, OD, 13, E14, l7 5 b i7 t It' the tuner is providedwith a set of twentyfour forks giving the number of vibrations persecond as shown above, it is only necessary to tune the octave of tonesbeginning with middle 0 in unison with the forks and the other octavesfrom that. If the tuner is not provided with a set of forks, theinstrument should be tuned as follows:The seven primary and twelvesecondary tones should all be tuned perfect and the five auxiliary tonesas follows: Tune the 01 D to make a perfect fourth for the key of Amajor. It will also be a perfect sixth for F and fourth for bA minor; 0Dto make a perfect sixth for F major. It will also be a perfect fourthfor A major; sixth for F1? and fourth forA minor; F1, to make a perfectthird for bD major. It

will also be a perfect second for bE seventh forbG fifth for p13 majorand second for IE fifth for bl; third for D and seventh for G minor; F1,to make a perfect third for D major. It will also make a perfect secondfor E, seventh for G fifth for E major and third for Dfi, fifth for Bsecond for E and seventh for Git, minor; Al, to make a perfect fifth forD major. It will also be a perfect seventh for B, second for G major andfifth for D,second for Gand seventh for B, minor.

Thus turned, the instrument will render all the intervals of thefollowing scales perfect: C, G, A, E, 1 E, [7A major, and A, E, Ola, G,C, E minor, 0, bE, E, G. A, and A major; A, G, Cit, bE, E, and G minor,and the intervals of all the other scales with but a few slight distionas to amount practically to perfect intonation in all the key-major andminor. Directions to perform upon the instrument: When the harmonic stopis pushed back, the raised or black keys play C sharp, D sharp, F sharp,G sharp, A sharp. When E sharp is wanted draw the E sharp stop and itwill be switched onto the F key. When the harmonic stop is drawn out,the black keys play bD, E, {7G, pA, bB. When 0 is wanted, pull the b0stop and it will be switched onto the B key. The following table showsin whatkeys the auxiliary tones are to be used in playing in those keys.The corresponding stop or stops should be drawn out when the auxiliarytone willbe switched onto the keys of the tones to which they arerelated:

crepancies. Indeed so close is the approxima- A 'l'z' A ."l'.

Ma or keys. 235 l Minor keys. MaJor keys. :Fgg Minor keys. -W l OD A F Wg1); F1 o G AI A1 AI M {0E F1 A 0D Flql bA 01 1) it E F321 bD F1 13 B FtI Gt? bG FI bE Ffii Dtt cpl) l7A t? t? fi tZF fi b l7 [7C Caution. The Esharp, Op and auxiliary upon one or another of thelevers 6 accordingstops must always be kept pushed back except when their respective tonesare wanted. For accidental notes no rule is here given. The musical earis a sure guide sounding the tone and its auxiliary; the car will atonce decide which is wanted.

Having thus fully described my invention, what I claim as new, anddesire to secure by Letters Patent, is-

1. A harmonic organ having the ordinary stationary key board consistingof twelve keys to each octave and being provided with twentyfour more orless notes or sounds to each octave or more notes than there are keys inthe key board levers 6, for each of the notes having shoulders 7 andbeing pivoted on pins 38 and held in position by guide pins t0 and rails39, to operate in connection with switches S, to counteract the lateralthrust of said switches when moving back and forth and to transmit thevertical motion of said switches to the sound producing mechanism by anysuitable connections.

2. In a harmonic organ,having more notes than there are keys in the keyboard, switches 8 having rests 9 and bearings 10, 10 and 10", slot lland guide pin 42 and counterpoise 43 and being pivoted at their rearends, the bearings 10, 10 and 10, being adapted to act to the positionin which the switches are held, and in connection therewith, bearings12, 12, on the under side of the keys 11, so arranged as that one or theother will engage with the rest 9 of the switch 8, substantially asdescribed.

3. In a harmonic organ having more notes than there are keys in the keyboard, racks, consisting of vertical studs 13 attached by shoulders itto longitudinal bars 15 which are pivoted to support 16 by hangers 1'7,each of the studs 13 having one of the switches 8 pivoted to its lowerend and being so proportioned in distance from one to the other, as tocarry a switch for the corresponding note of each octave throughout theinstrument, substantially as described; and in connection with theforegoing rest board 22,springs 26 e011- neetingrod l9,downwardprojectingcranks 29, shoulders 31, with rest 52, heel 51 of forked lever30 to move the racks forward and hold them in that positionsubstantially as described; and in connection therewith, action board2L9, with grooves 50 and the arrangement of the action rods 28 thereon,so that the stop rods 32 may stand in the order of the pitch from thelowest to the highest of the notes which they represent substantially asdescribed.

t. In a harmonic organ having more notes

